Stephen King saw Baby Driver and thinks it’s ‘ultimately cool’

Stephen King saw Baby Driver and thinks it’s ‘ultimately cool’

To match the movie’s music with the filming location Wright would take the cast and crew through the streets of Atlanta to make his vision come true.

Ansel Elgort has all the right moves for Baby and brings a good deal of charisma to the part while Kevin Spacey is on fine fettle, rattling off his dialogue like machine-gun fire in a role that echoes his crime classic The Usual Suspects. He drowns out the ringing in his ears with a collection of classic songs making up the soundtrack. He carries the movie, although he does have help from a pretty dynamic trio of baddies.

Baby Drivery is slick, slick, slick, and effortlessly cool, where vehicle lane changes and drifting spins, camera zooms and quick editing cuts are all oiled up in flawless unison (notice Ryan Heffington, the choreographer of Sia’s “Chandelier” music video, is credited as the film’s choreographer in the opening title credits). Kevin Spacey is the crew’s bossman and, well, he’s just being Kevin Spacey, but it’s a good, very amusing Kevin Spacey. And yet the encroaching demand for his talents, and what he’s doing with them, begin to weigh on his sense of right and wrong, especially when he falls for a sweet, kind-eyed diner waitress named Debora (Lily James), and a doomed job threatens his chance at love and happiness away from his perilous profession. When the action gets going and the wheels start burning, the movie takes a satisfying, uncomplicated and straightforward approach.

Unfortunately, there really isn’t a star auto of the movie-our guy lifts whatever he can get or whatever is rational for each new job and there’s very little emotion or character given to the rides. It’s not only one of the best films of the summer, but of the year to date. At the same time, I’m glad that we’re still getting original movies out of him like Baby Driver. It tells a good story, even if that story isn’t particularly new.

Imagine a feature length version of that.

The plot in the film was simple, but it worked well for what the movie was.

While there are two or three notable vehicle stunts that are truly stunt driving masterwork, the action in this movie is impeccably choreographed with the soundtrack it’s paired to but doesn’t quite have the big budget feel you might expect of a Hollywood release; it’s nearly a disservice to the achievement of the stunt team. Baby Driver is now being edged out of the number one box office spot by dead-horse-beating sequel Despicable Me 3, whose annoying little yellow minions might see box office totals reach $100 million by the weekend. I don’t think they knew who I was. Instead, it’s a very polished and often under-cooked execution.

I can’t stress enough how much I wanted to really love this movie.

I hope & pray you go and see it on a big screen.

Within the first five minutes of director Edgar Wright’s “Baby Driver” you’ll know that you can trust your driver, and that you’re in for a hell of a ride. It’s just a cutesy (but shockingly R-rated at times), toned-down Edgar Wright movie. It just misses out on compelling the audience to feel invested or involved in the action and main characters. He also has fun with the film’s many comic moments; watch for his throwaway exchange with one of the gang who appears to have the word “hat” tattooed on his neck.